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The Hidden Art [1] [2]

To 'see' beyond the technology has always been a sensitive issue for the medium of holography. Is there anything there other than the optical wonder? It is my feeling that holographers have generally failed to look widely outside the medium and to match themselves against the standards of excellence and visual effectiveness in other media. Either that or holographers have been preoccupied or satisfied with results achieved in the context of what is possible within the medium with all its technical dependence and difficulties. I mean here what is possible in terms of subject matter, scale, colour and so on, and it is easy to imagine how excellent results and hard-won qualities can seem sufficient from within the holographic community where all kinds of automatic recognitions and allowances are being made. Outside of that group, however, there is little or no understanding and 'poor' colour, 'poor' subject matter, 'poorly' worked out composition, 'poorly' judged relationships of objects to plate edges, and so on, all these things, where present, are difficult facts for outsiders to take.

TITTERINGTON, Chris "The Hidden Art", dans The Creative Holography Index, volume 1, numéro 1, 1992, p.1-8.

'Why have artists who use holography so far failed to make headway in the art world?' I presume that holographers want many different things success in making their work, success in realizing personal expressive aims, but also I believe holographers do want success and appreciation from those outside the medium, including those people who can validate the efforts of individuals from historians, writers, curators, and so on and that to me seems natural enough, though I do think it needs to be said that I am aware of this value judgement and the probability of dissent from this assumption. It appears to me that holographers have been ignorant of, or disinterested in, the conditions in which success is conferred in the art world and that the art world, for its part, has looked upon the visual language generally used in holography as primitive, both in what is said and how it says it. Anthropologically, a system of elitism does exist within society's cultural field and a knowledge of its operational rules is essential if the system is to be played or challenged. Sociologically, the art world generates an extremely complex environment of ideas and values. I believe that many more holographers are aware of this system today than say ten, or more years ago. Change is therefore inevitable and holography can only prosper.

TITTERINGTON, Chris "The Hidden Art", dans The Creative Holography Index, volume 1, numéro 1, 1992, p.1-8.

A pretty general and critical feeling about holography is that it is a medium led activity rather than subject led. Clearly, many, many holographers have gone beyond this phase or never suffered from it in the first place, and of course the problem is not specific to holography anyway.

TITTERINGTON, Chris "The Hidden Art", dans The Creative Holography Index, volume 1, numéro 1, 1992, p.1-8.

Dictionnaire des arts médiatiques
© 1996, Groupe de recherche en arts médiatiques - UQAM